CARR AURAL TRAINING PAGE 224 HOW TO
CARR AURAL TRAINING PAGE 224 SERIES

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CARR AURAL TRAINING PAGE 224 HOW TO

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It seems overwhelming, but the possibilities are not infinite. In the end, it's all Autumn Leaves.īut in ear training class, they know exactly what chord to play in what order to confuse you. If you can listen to chords in the context of the sequence of falling fifths, it makes more sense. If you remember nothing else, remember 473-6251. Or little pieces of it - iv-viio-III+ - 473 in minor. In jazz, you will hear a lot of ii-V7-I, which can be extended by backing up in the sequence, 6251. You should also remember that chords tend to progress according to 'the sequence of falling fifths'. You can hear the minor chord scale here: In classical, we are only accustomed to hearing the seventh on V and possibly ii. On top of that, in jazz they add the seventh to every chord. We are not used to hearing the dim and AUG chords much because they are only found in the harmonic minor chord-scale. You can play midis of the four chord qualities and hear the difference here: This introduces some dissonances in the upper partials, not as pretty as the major triad.Ĭ - Eb - F# - C - Eb - F# - G - Bb - C# - C - Eb - F# - E - G - A# - D - Bb - C#Ĭ - E - G# - C - E - G# - G - B - D# - C - E - G# - E - G - B# - D - B - D# Let's take this stack of overtones and make it into a minor chord, flat the 3d:Ĭ - Eb - G - C - Eb - G - G - Bb - D - C - Eb - G - E - G - B - D - Bb - D

The interval of the major third sounds like a CMaj7 chord.Īdding the G (for the major triad) creates:Ĭ - E - G - C - E - G - G - B - D - C - E - G - E - G - B - D - B - D, The major third on C would contain:Ĭ - E - C - E - G - B - C - E - E - G - B. Plus, in jazz it is never just a triad.Īctually, we limit ourselves to the fundamental and the first five overtones:Ĭombining the overtones of two notes would be called an interval. If you are like me, they start sounding the same very quickly.

And when you combine three notes in triads, you get a very complex sound. That spells what? C7 #11 13? Just a single note sounds like an altered dominant chord.

CARR AURAL TRAINING PAGE 224 SERIES

The chord voicing of the overtone series would be:ġ - 1 - 5 - 1 - 3 - 5 - b7 - 1 - 9 - 3 - #11 - 5 - 13 - b7 - Maj7. The overtone series resembles a chord:Ĭ- C - G - C - E - G - Bb - C - D - E - F# - G - A - Bb - B.

I had this question once, so I got out Grove's, went on a magical mystery tour.Ĭhords are hard to hear because the frequencies of the individual notes used in chords and the frequencies of partials of a musical tone do not differ much. Don't forget the demented and augminished. They were: Major, minor, augmented, diminished and suspended. Summer wrote:I attended my first Jazz Theory class yesterday and we were tested on 5 basic triads to see if we could tell which one was being played.

Carr aural training page 224